1979 年以後，大陸的書法藝術取得了相當的進步和發展，本文便從書法創作、書法理論和書法教育三個方面對其作出比較全面和客觀的回顧，理出大陸當代書法藝術演變的歷程、發展的脈絡和取得的成績，同時指出大陸當代書壇存在著浮躁，重技術，輕知識；中小學書法教育不景氣；高等書法教育需進一步加強等不足。陳丁奇先生作為當代台灣傑出的書法家，生前並沒有與大陸書法家交往、交流，但他關於書法的理念、意識和傳授書法的方法卻與大陸當代書壇有著許多契合之處。他的成功，有賴於他浪漫的表現主義情懷、他的刻苦、他的非功利以及創作、理論和教育三者的高度互動。陳丁奇彌足珍貴的書道精神值得兩岸書壇學習、發揚。

Since 1979, much progress has been seen in Chinese calligraphy in Mainland China. The paper is to review mainly and objectively Chinese calligraphy in aspects of creation, theory and education; to understand the history, development and achievement of contemporary Chinese calligraphy in Mainland China. In the paper, the author also points out some problems,such as techniques being overemphasized while knowledge overlooked;unpopularity of calligraphy education in schools; and lack of development of advanced calligraphy education.As a contemporary outstanding calligrapher in Taiwan, Mr. Chen Ding-Qi had no contact with the Mainland Chinese calligraphers in his life time, but many of his ideas and methods of calligraphy teaching are almost the same as those in Mainland China. His success lies in his romantic expressionism, his diligence, non-untilitarianism as well as the interaction among creation, theory and teaching. The precious calligraphy philosophy of Mr. Chen, Ding-Qi serves as a model for Taiwanese and Mainland Chinese calligraphers. It should also be further promoted and introduced to more people.